Jimmy, great fun to read more people had the "Wow" experience seeing you back in '85 onstage with Lee Ritenour at North Sea Jazz!! I too knew you only as "Flim" Johnson from the Arrowhead sleeve (from which I put your pic up here when starting this thread). In that same year '85 there was this floppy single inserted in Guitar Player of Allan's "Metal Fatigue", crediting a certain " Jimmy Johnson" on bass and although you knocked the listener right out his socks with that part, me and my band mates, all Arrowhead worshippers, didn't make the connection. When the North Sea Jazz Lee Ritenour line up announced "Jimmy Johnson" on bass too, boy, were we eager to go and check that cat out! Due to other performances we watched, we were a little late in the door in the huge "Tuinpalviljoen" and ended up next to the front of house board, far from the stage, so it wasn't until your first solo spot that we could clearly see that shape we all love so much [your hairdo helped a bit too ;-)] and all pieces of the puzzle fell into place: it was THE Flim Johnson we were hearing! Priceless night and although almost 30 years ago in the meantime, remember it as if it happened only yesterday. Take care, Reinier.

PS: did you enjoy the Peavey 2x10/2x18 walk-in closet they made you stand in front of (FoH sound was very good, don't worry)?

Reinier, what a coincedence, I got that free single too from that magazine, and after that I bought the CD which my brothers could not dig. i happen to make some photos of that RIT performance, and i lend the prints plus natives to a friend of mine, right before we lost contact with each other. I met him again on FB and after a few reminders he send me back the prints plus negatives last week, 29 years later! It was nice to see them back, from both Rit and Casiopea(my middle brother's fav band)I did not print the shots of Jimmy because in the spirit of a true bassplayer, he preferred to stand in the dark most of the time. I will see if can make prints of Jimmy after i manage to scan the negatives. gr. Ulli

Kaspar, glad you're enjoying the big tone! To me it's a natural, almost acoustic sound more closely related to piano than electric guitar. As such it's not what everybody is looking for in an electric bass but obviously I'm hooked on it...

And as you guys have pointed out, although this is the only sound I know how to make I've been lucky to do it in a variety of different musical settings. I've enjoyed my never-know-where-he's-gonna-show-up career. For what I do it helps to not be too famous for doing one thing. Instead, some people think of me as a jazz guy, others a pop guy, some mostly a fretless player, I even had a short stint working for a rock producer back in the day. Only curious bass players can figure out that those are all the same guy. Ha! I've had loads of fun. It's all music to me and there is great stuff in every genre.

Ulli, good luck with your work "Alembisizing" your Fernandes. You could probably purchase a prewired rotary selector switch from Mica (not a cheep piece) but I don't know about compatibility with your electronics. Possible though, especially if the Fernandes originally had one there and if it functioned the same with the circuitry.

There may be a bit of an issue if you continue down this path of buying Alembic parts for your "copy". I don't really know how the family would feel about that. I suspect they'd rather you saved up to buy a real one... But if you love the way this bass feels and plays then you are of course free to upgrade it as much as you wish.

Thank you Jimmy, yes i realised that after i read about the Alembisizing thing and getting "a bat with hairy eyeball".If I get a no as amswer I can respect that. I have an idea already of the type of Grayhill switch. I could buy it from their site directly. But somehow it would be nice if i can buy the whole set from Alembic themselves. I will never be able to buy a real one, so this is my only fav option. Ulli

Sorry if this comment somewhat hijacks the thread, but I wanted to answer to Ulli on this regard. I used to say I could be never able to afford an Alembic, living in a third world country (the paradox is that we have the largest oil reserves in the world, but at the same time our living standards are WAY below most "not-so-wealthy" countries). Since about 13 years we have a strict currency control (ie. weīre not allowed to freely buy foreign exchange, we are limited to a certain (pretty small) amount of foreign currency available for transactions abroad (this year the quota is only of 300 USD per capita YEARLY for online operations abroad), and our own currency has underwent in the last years 4 devaluations. This has been the situation in this country for... ever (only aggravated in the latest 15 years, but we have never really been the equal, comfortable, wealthy society you would expect from "one of the richest countries in the world" as they say). And so, 25 years ago I was lusting for an Alembic since I played one, and thought exactly the same. My closest approach was to buy (1993), secondhand, a neck-thru Hondo bass with 2 DiMarzio "P" pickups and brass hardware, which seemed somewhat similar to me (go figure). Then in 2009 there simply was the chance to buy my Epic 5 secondhand, and "all the stars lined up"... and so I am now the proud caretaker of this wonderful instrument. I cannot assure if or when I will be able to have my dreamed MK Series 5, or a Rogue 6, or... but I see no reason why, if it has happened once, it couldnīt happen again. There are surprises beyond what we are currently able to see, so donīt give up hope!

Jcd, thank you for your reply. One day I hope I can meet Jimmy and save him by accident from something evil. Maybe then he wants to donate me one of his trio instruments ;-)Just kidding ofcourse, I just want to make my bass ready, thats all :-) Gr. Ulli

Thereīs a song Iīve been LOVING for years and years since it came out... and it has been not until tonite that Iīve found out it must be our dear Jimmy J on bass! Iīm talking about a wonderful tune on Sergio Mendesīs "Confetti" album from 1985 called "Real Life". I was playing it and almost went immediately to WIkipedia to find out about the credits... and found a dream team which credits James Johnson on Bass, Carlos Vega on drums, Robbie Buchanan on keyboards (By the way... does anybody remember his "Maxus" band from the early 80s? I must have worn out that vinyl so many times... itīs great!) and Dan Huff on guitar!. Needless to say, I played the song twice after that

Yes, well spotted Juan Carlos. That must have been my first time working for Sergio, thus the odd "James" credit. His sessions were always musically interesting and I found him to be a very nice guy. And his wife Gracinia a fabulous singer! I think Robbie was also new to LA at that time and finding success as an arranger / producer - in this classic 80's synth-pop style. Another talented guy!

Speaking of amazing voices, I'd highly recommend 20 Feet From Stardom. It's a documentary about back up singers. Jimmy, I daresay you've probably worked with at least of few of the singers featured. Lisa Fischer stands out particularly.

Ohhh yes yes!. In fact, on that song ("Real life"), right after the guitar solo (brilliant Dan Huff!), Jimmy plays, if Iīm not wrong, an F to pass then to E minor for the chorus (coming from B7 or Bsus4, not sure right now)... that note had been HAUNTING me for YEARS! You know what I mean... when a single note gives all the character to that moment, Iīve spent a lot of time wondering if I would have "solved the puzzle" any differently, and THAT note simply HAD to be there. I do love a lot of music, and I like a lot of "more complex" music, but then I think it is subjective... a lot of times itīs only a matter of ONE single note, placed in that spot where nothing can replace it, what makes the whole difference. And I LOVE it when it happens!

Ulli, I think Steve Khan fell in love with Gracinha after only hearing her voice. But he was too late because she had married Sergio years before...

Yes Edwin, great movie. David Lasley is one of James Taylor's regular BG singers and has some great lines in the film. I understand Arnold McCuller also appears in the extended DVD version. A lot of extremely talented folks! I recently got to observe David, Arnold, Kate Markowitz and Andrea Zonn working on background parts for a new JT record. James usually comes up with the parts and the team then executes his direction beautifully. It's a pleasure to watch the pros at work.

Juan Carlos, you forced me to dig out that track and listen. (1984? 30 years ago? Holy cow, how did that happen?) Fun to hear it again. Reminds me of that time and those great musical experiences. So listen, the F coming out of the guitar solo ... as much as I'd love to take credit for that it was most likely all Robbie Buchanan's idea. Sorry, hope that doesn't ruin anything for you... I think he liked me because I could play whatever he would come up with on his sequenced synth bass part. And just having a human play it (me in this case) would put a bit of "life" into it. Something like that. But he was a "thorough" arranger and didn't leave much to chance so I am quite sure that passing note was all part of his plan.

I do understand what you mean about the power of one note. That's why they are ALL important! Any one of the bunch you play might be "that one note" for somebody.

Edwin , the 1st time I saw Lisa Fischer performing, was on a concert I recorded back in mid 80's where she outperformed Chaka Khan in loudness while being in the backgound section.What a body she has! Jimmy , Steve was in love with Gracienha? wow, nice gossip hehe. And i will checkout the F note Juan mentioned, great way to start the week here.

And to continue the gossip (and the hijacking of the thread, for which I offer my apologies)... back in the early 80s (probably near the time of the Gracinha affair ;) there was a local TV actress, called Caridad Canelón, who was on the rise here. She had acted on lots of soap operas and enjoyed a huge success in the country. Around the same time, Jeff Berlin knew a Venezuelan vocalist (who used to sang jazz with one of my guitar teachers of then, Mr. Gonzalo Micó) called Vicky Fulop, who he eventually married (Her sister, Katherine, is also a talented TV actress, and maybe here is where the two stories unite). Then Steve Khan met Caridad, and fell madly in love with her... but it didnīt last neither. So, for a while there was a little chance of having two talented U.S. jazz musicians married to a couple of talented and beautiful Venezuelan women!.

Now I cannot listen to Khanīs "Modern Times" album (One of my all time favs) without thinking of Caridad Canelon. Go figure.

wow thats a cool story Juan. I happen to have a few of Steve Khan's Eyewitness albums, like Casa Loco,Public Acces & Crosssings. I know the Modern times and love especially the track "Blades" alot, I also heard the live version from it, when they did a live recording in Germany. Anthony Jackson did some out of this world Solo Intro for "The Suitcase" with his trademark reverb/flanger sound plus his volumepedal.

about that rotary 4-way switch for the alembic, I figured out that switches are used with type nr: RCL 01686, but I also read that brand Grayhill is used. The type nrs for Grayhill are different and marking RCL 01686 is used by brand BYAB. Can anyone give me more info about the wiring here?

It's ... complicated! I'm looking at a pre-wired replacement switch right now and cannot describe the circuit because many of the 10 outer solder lugs are connected to each other with jumpers, etc... This is a Grayhill marked 50C36-01-2-04S. If I'm reading the spec sheet correctly that's a "50" series, 1/8" shaft, military spec, 36 degree, 2-pole, 4 position, "shorting" rotary switch.

There are 5 wires leading to the switch which I can safely guess are input-A, input-B, output-A, output-B and ground.

I am a bit of an electronics guy but I would be hard pressed to logic out how to wire this switch on my own. What I would recommend is that you contact Mica and see if she would be willing to sell you a prewired pickup selector switch with a short explanation of the in-and-out color coded wires. With that info you could probably interface it with your instrument. I say probably because you are trying to modify a non-Alembic bass with Alembic parts so there is a chance you may run into some incompatibilities.

If she is willing to sell you this piece it could be costly. The switch itself is expensive and there is labor involved in the prewiring job (which of course looks outstanding) plus shipping... It may add up to a considerable investment - which hopefully will work with your electronics.

I have wired a few switches of this type (for Bartolini triple coil pickups, each of which was like a mini-Series setup, two regular coils and a humcanceller between them) and it was a lot of work. It's doable, but it would be much easier to see if Mica can sell you a prewired version. I got one from her when rehabbing a Series II set of electronics. It wasn't cheap, but it was a lot better than wiring the thing myself.

Jimmy thanks for the info regarding the Grayhill type switch , its very usefull in case I go the DIY way. Edwin, also thanks for the reply. I sent a mail to Alembic about the costs for ordering a complete switch/plate/screws & cabling almost 3 weeks ago, when i got an automated reply which indluded an assigned ID nr ([Alembic #668]). But beside that I got not further information.I mentioned my Fernandes FAB-180 in my request. I can wait for a possible reply or just buy the grayhill switch and hoping for a wiring scheme later on. I just checked the cabling on my current installed switch(done by the previous owner). It is a flatcable with 5 wires. I could assume Fernandes did a 1:1 copy job on the internals too.

Ulli - You will usually get a better response by calling Alembic directly. They open at 10AM PDT.

There are members here that have owned or do own Fernandes basses. If you open a thread on the Owning an Alembic/Troubleshooting topic or the Miscellaneous topic you should have more visibility and you might get more responses from people who have already gone through what you are.

Although I'm happy to continue helping, it may make more sense for you to start a new thread under "Owning an Alembic">>"Troubleshooting" or just under "Alembic Basses & Guitars". You might feel awkward because it's technically not an Alembic, but we're a friendly bunch in here so I don't think anybody will give you trouble. I don't mean to chase you out of my room... HA!

Regarding Mica's response time, you need to understand that this entire Company consists of about 9 very dedicated folks who are trying their best to serve everybody's needs. They're good people and stand behind their products but there are not enough hours in the day for them to respond to all their customer's requests and keep the company running. New customers are always shocked by how long things can take but us old-timers know that good things are worth the wait. Furthermore, they're under no obligation to service Fernandes instruments so your questions may be at the end of Mica's long list of things to do. Don't be offended or discouraged, I'm just trying to explain the situation.

On the other hand, this "club" is full of knowledgeable players and often the best place to get quick answers to questions about any instruments or amps. With that in mind, scroll down on this page for a schematic of Alembic's DS-5 (similar to your PS-5): http://alembic.com/club/messages/395/60881.html?1246843699Note that the only resistors are the summing resistors for the mono output. The original DS-5 had a thermal fuse on the high-power side of the transformer. The only way to know if that had failed was by testing it. Hope all this helps.

Jimmy, yes, I do realise you are right about all the things you said. Maybe I got stuck here, because I already felt this was the right spot, having contact with several members. Ofcourse I dont think you want me to kick lol.Prob I will try some other threads or make a new one, depending on the progress from my side. I will check that link you gave me. I am not really technical, but I thought that behind the elco's of my PS-5 4x resistors were on the board. behind the left elco two of them became black. I just found a good old fashioned electronics shop here who is willling to check it for me, so I will have no part in reparing it.

The four components are likely diodes which work as a "bridge rectifier" in this circuit. (They're connected in a square shape on the Alembic schematic.) Your electronics shop guy should know just what to do.

Keith is correct in that in this case MD means "musical director" but it's an inaccurate usage. JT sometimes refers to me as the band leader (maybe because I've been there so long) but there's no doubt that HE is the musical director of the operation. I'm more like the "assistant concertmaster", or maybe librarian. Organizational assistance for the band. Only title I'll claim is "bass", and I'm still just subbing for Sklar anyway!!! You betcha!

For some reason I was under the impression that my message got moderated (although not particularly offensive in my own opinion) ;-). Anyway, it wasn't until now I realized you actually wrote this danish dude back. Thanks :-). AND - since your little danish portion of the tour is approaching heavily, I'm looking forward more and more to the show and possibly a chat with you and thought I'd remind you by now.

As it turns out, It's not in Tivoli Gardens but in Falconer Salen, which is a pretty nice venue. Again, stop me, if I'm crossing the line, but... I know Gadd is probably arranging tickets for a friend of mine. Am I a jerk to ask you the same favor? probably... but I COULD pay you back in loads of Lakrids :-). Either way, I'll be sure not to miss out on hearing you live and sending you thanks for endless inspiration.

And I agree with Dave. I think "Librarian" is very descriptive. And catchy to boot :-)

Thanks for the reminder note. Right, I still haven't seen the detailed itinerary but I guess we're not at Tivoli this time so no Flyvende Kuffert ride for me. Wa!

I'm sorry but I can't arrange tickets for you, neither as comps nor as a "broker" (purchased for you). I reserve that favor for immediate family members or very close friends - and only if they don't ask. Ha! If you are able to get yourself to the show the best I could offer is a couple after show passes if you wanted to come back and say hello. This doesn't mean you would meet anybody but me ... but it could be a bass chat opportunity.

Let me know (right here) if you are able to make it and we'll see if we can connect. Thanks for understanding.

Very funny. In fact we played that song in the set on our first Cunard "adventure" in '09.

The whole concept is pretty silly but ... passage for band, crew and gear to Europe at the cost of playing a couple short gigs on the boat makes some sense. It is a bit odd to play in a theater that is MOVING. I just hope we have better weather this time.

of JT doing "Frozen Man" has the camera slowly pan across Jimmy in the background with (one of?) his cone-headstock Alembic five-strings. Can't quite tell what other features it has, but in addition to that being one of my favorite ever JT tunes, I must have played that clip 500 times just to hear the bass. One of the bands I play in has tried in vain several times to add this tune to the set list. Beautiful bass, and a great bass line too.

It's also an example of how the bass parts are already written and played by JT on most of his tunes. I don't know of anybody who plays guitar quite like him ... and those bass lines come with the package. All I do is pick and choose how much of what he's already playing should be doubled an octave lower.

That clip is from around '92 and is probably my "recording" bass - an '87 series II. Great to see Don Grolnick and Carlos Vega and remember that happy time. We miss those guys.

JT is one of those guys you hate to pick favorites from, but yes, Frozen Man is epic.

I notice you often reference the guitar bassline as the strongest influence on what you play. Couldn't agree more... I'm fortunate enough to be playing with a very gifted young guitarist/vocalist/songwriter with whom I'm able to do just that - listen to his lines and pare down from there. He often reminds me though, it still takes a bass player to *hear it* that way.

Ed, that seems like a long way off but remind me when we get closer...

Kaspar, It was great to hang with you and Mikkel for a moment Tuesday night, I enjoyed that. I'm glad you guys were free, thanks again for coming to the gig and saying hello. And for all the kind words posted here too!

Another fantastic show, we were right in front of James and could hear every note perfectly. Jimmy's playing - as ever - was beautiful - I really loved the 'duet' intro to Millworker which really highlighted Jimmy's tone. James threw in a handful of new songs which were great - looking forward to the new album coming out soon. As usual we had a really nice chat - great to catch up.

Just checking in again concerning the New Orleans show; if it is at all possible (without being too big a pain) I'd love to meet up for a minute or two afterward. Let me know of any super-secret passwords, handshakes, or offerings to the security crew if necessary...

If you wouldn't mind posting here what seats you're sitting in at UNO then I will do my best to come out and say hello before the show starts. Concert starts at 8 (no opening act) so doors should open at 7pm. I'll try to be sitting in your seats and maybe we can squeeze in a bass chat before I have to report to work. That's the best I can offer you at the moment but if it sounds OK we'll give it a try.

Even though I stand directly behind Mr. Taylor and am in many of his live camera shots I'm still basically unseen by the majority of the audience. I can usually wander through the venue and not be recognized, sometimes even right after the show. That's all fine me, I prefer it this way! Ha!

Jimmy.."Even though I stand directly behind Mr. Taylor and am in many of his live camera shots I'm still basically unseen by the majority of the audience. I can usually wander through the venue and not be recognized, sometimes even right after the show. That's all fine me, I prefer it this way! Ha! "

Amazingly this is pretty accurate. When you came to speak to us before the Glasgow gig I don't think anyone around us twigged who you were. It wasn't until the show started that our neighbours asked if that was 'the bass player' we'd been talking to :-) like you say, anonimity can be a good thing - We felt quite sorry for JT who didn't even get off the stage during the interval due to autograph hunters who mobbed him. He must have a cast iron bladder :-)

Heard, as opposed to saw you, the other night when JT played in Minneapolis (had bad seats AND one very tall guy sitting/ standing in front of me). Can't get over how tastefully you play in that ensemble - my operational definition of "a pros pro." And while I assume I'm probably in the minority, I came more to listen to you than JT.

Brian, Thanks for the kind words. I'm glad you at least enjoyed the sound. You didn't miss much onstage action except of course for the 30 dancers and the pyro effects on "You've Got A Friend". Ha! Really, not much to watch with us old geezers, thus the somewhat busy video content... But for me it's all about the music and sound so I'm glad to hear that was coming through.

Gregory, Maybe I can see you at one of those gigs. Let me know if it works out.

Ed, OK, I'll do my best to get out there and say howdy. But even if we miss connecting with each other I hope you'll enjoy the evening.

My co-worker and I will be at the Mohegan Sun gig in a couple of weeks. Should be a good time as always.... LMK if you need to get 'off the reservation' (literally, not metaphorically) pre/post show...

John Z, thanks. If I were a coffee drinker I'd be all over that. But I will enjoy a nice midnight sandwich while I'm down here. I know what you mean about bad sounding venues. Our FOH guy is mighty fine but sometimes even he can't win.

Mike P, maybe I'll see you there. Casino gigs are odd in that they pay very well but then they don't want you to play too long. Because when people are at the show they aren't gambling! That's a bit harsh, they're not all that way. I think we get to play our whole show at the Mohegan Sun (and we'll probably know the tunes pretty well by then) so that should be good. Let me know what seats you're in as it gets closer. If you know.

Nice to see Ed V. and his gals the other night. Thanks again for the CD. Hope you all enjoyed the show.

Many thanks for taking the time to visit... The show was stellar, but the company was even better! It was truly an unforgettable night for us all. The gals and I are still buzzing about all of it a week later...

Safe travels and Happy Holidays to you, yours, and the whole gang on tour.

Over 30 years ago, yikes! I had no idea any of that Wayne Johnson stuff was recorded, much less on video. (For you youngsters, this was a year before cell phones were rolled out in the US). We had some good fun with that trio.

I sure wonder where that bass went... 76-418 was stolen out of a van in Poughkeepsie, NY in 1987. A particularly odd axe too. The tailpiece was a plate with pins sticking up onto which you slid the ball ends of the strings. Cracked top on both sides of the bass pickup. 5-strings on a 4-string neck... Where could it be? In a closet somewhere? On the wall of some restaurant?

Just pre-ordered Gadd's '70 strong'. If it's anything like Gadditude it'll be another great album. looking forward to listening to your playing on something new Jimmy, do we have long to wait? Hard to believe Steve's 70 this year; when we chatted last September I'd have put him in his early 60's at most. Must have a very effective fitness regime :-)

JimmyJ, I'd like to read more about that 5 strings on a 4-string neck, sometime when you've got time. I've thought about that a lot here lately, the logistics of how to do it.

I hope to read here one day you have finally found 76-418. I've never had the misfortune of having an instrument stolen, but my Dad had a Gibson banjo stolen from his office in 1976... he still carries the serial number of that banjo and the phone number of the Wise Co. Sheriff's Office in his wallet to this day.

Gregory, I don't know Alembic's original work with JJ on his first, but it was common at the outset of 'off-the-rack' five strings.

My original BB5000 Yamaha was essentially a 4-string BB3000 with an 1.75" nut width, modded with a five-slot nut, an updated 3+2 Yamaha P-pickup (strangely, an idea only now becoming common 25 years later), a slightly bigger head with the 'add-on' G-tuner, and a five-saddle bridge, all tooled to work inside the original four-string spacing, and these were fairly simple mods from the four-string blueprint.

You essentially wound up with a five string with very tight string-to-string spacing, like a Ric or a very narrow Jazz Bass. Really 'cozy' down at the nut, but you got used to it. I had a Peavey DynaBass (I know . . . .) that was done the same way.

This was not uncommon back in the late 80's, and the widths have been all over the map ever since. IF there's a 'standard', it's probably the ubiquitous Sting Ray Five that introduced it to most people, the first fairly easy five for most people to get their head around, plus they had that Music Man tone which a lot of guys were used to. And getting that big pickup to work on the B-string was not quite the hurdle required to make a P-pickup sound good in the same situation, a classic illustration of 'narrow' vs. 'wide aperture' tone.

Right on Joey, I know what you mean. I have an '87 Gibson V Thunder Series 5-string. Essentially it's an ordinary (well, by Gibson's standards anyway) shaped bass, wired up like a Thunderbird. Darn thing looks uncannily like a cone headstocked Spoiler, painted Ferrari red. The string spacing is pretty much 5 strings squeezed into the same space as the 4-string model, even used the same pickups. They made them for less than a year, and they're not well regarded at all, but it has enormous sentimental value to me. (and the string spacing as you say, you get used to it)

Anyway, I'd given some thought to an Alembic restoration/conversion. Since it's partly Jimmy's fault I play 5-string basses, thought I'd go to the original Alembic fiver guy.

Graeme, thanks for supporting the team. Gadd record coming momentarily. James' record probably in a couple months. (Holdsworth record? Within the decade, we hope.)

Gregory and Joey, I think you guys have got it right. When there was enough interest in 5-strings the builders felt the need to offer it but didn't want to retool everything. So what came out first was tight string spacing on whatever they were already making. Then later the Fender players complained enough that many went to standard P-bass "+1" spacing.

What I landed on and got used to is a 1-3/4" nut and around 2-3/16" from the outside edge of the B-string to the outside edge of the G at the bridge. My fretless is even smaller with a 1-5/8" nut and that was clearly because Alembic only had one graphite "neck mold" to fool with at that moment in time.

For a few years before discovering Alembic in '75 I was playing a Gibson Les Paul Recording Bass which was probably already tighter spacing than Fender (and a couple frets shorter!). So the spacing didn't feel too weird to me right off the bat. I also started on electric so I wasn't coming from upright. I guess that makes me a "bass guitarist"

Again, it's just what I got used to and happens to fit my fingers, the way I play, etc. Almost every other bass player who tries my bass finds it a tight squeeze.

I also prefer a narrow five-string. Both of mine are the Alembic 'Classic' taper, 2" nut by 2.5" at the last fret, so the strings almost feel parallel to me. Yamaha later went crazy with those crazy-wide fives on TRB's.

If I had mad money to build a couple of 'what if . . . ?' axes, one of the first things I'd try would be like the fingerboard on a nylon string classical: Utterly straight end-to-end, no taper at all, and a flat-radius (i.e., NO radius) fingerboard, backed with a flat-back neck profile, REALLY a 'U-shaped' neck profile.

It's interesting to me that I was never at home, a four-string was always too much work, the notes just didn't line up right to me. I'd read about Jimmy and Alembic, and a bass with FIVE strings just said to me "I'm waiting,Joey", and then when I got my first, the little light went on and everything made sense. There's a part of me that always wants a little P/J Precision (the current candidate is the ESP Frank Bello), but every time I pick up a nice one, something is STILL missing, so it just remains a daydream . . .

Jimmy, your neck sounds very similar to my new Europa. Mine is 1.77" at the nut & 2.5" at the 24th. I haven't measured string to string, but with about 1/8" from the edge of the string to the edge of the fretboard, that would put it at 2 1/4" string to string. I love my narrow neck, & your bass was my inspiration for getting the narrow neck! My string spacing feels natural to me. Now when I play my Jazz Bass it feels like I'm missing a string in between the others!

Add Your Message Here

Post:

Username:

Posting Information:
This is a private posting area. Only registered users and moderators may post messages here.